WITCH HUNT

Australia, 1999, 90 minutes, Colour.
Jacqueline Bissett, Cameron Daddo, Jerome Ehlers, Suzi Doherty, William Gleuth, Alexandra Schepisi, Gerald Lepkowski.
Directed by Scott Hartford Davis.

Witch Hunt is based on actual characters and events in the state of Victoria. They have been altered – and the film-makers acknowledge that this is a speculation on the events and what could have been.

The film focuses on the abduction of a young girl. Her grandparents (Jacqueline Bisset and William Gleuth) blame her father who has been divorced from their dead daughter and has partial custody of the child (Cameron Daddo).

Jerome Ehlers and Suzi Doherty are the police. There is a thorough investigation, trying to find clues. The father is desperate and blames the grandparents, eventually accusing the grandmother of being a witch. He is continually desperate and it is credible that he has taken his own child. Jacqueline Bissett is smooth and strong as the grandmother, dominating the rest of the family, her husband and her son and antagonistic towards the father of her daughter? She laughs at the accusations of being a witch.

However, as the film progresses it emerges that she has an interest in the occult, that she has written books, that she is a witch and wants to pass down the powers to the next generation, but with her daughter dead she has to do it with her grandchild whom she has abducted.

Eventually the case is complete, the grandmother had urged her son to hire an assassin to kill the father – but he had hired an undercover policeman.

The film is melodramatic – but, with suggestions from the actual case, it makes a plausible enough study of the situation of abduction, domestic violence, and the possibility of witchcraft.

1.An entertaining thriller? True story? Family relationships? The background of witchcraft? Contemporary police work?

2.The Australian setting, the Victorian countryside, the town, the homes? The open fields? The city of Melbourne? Musical score?

3.The title, the reference to Barbara, her work, her associates? The witch hunt against David?

4.The situation: the disappearance of the little girl, the sequence of her disappearing? Her father’s reaction, love for his daughter, the relationship with her mother, her mother being dead, his wanting custody? Barbara and Ray, their custody of the child, their relationship with their daughter, hostility towards David?

5.The portrait of David, erratic, emotional? Work? Marriage, his in-laws and their dislike? His love for his daughter? Her love for him? The flashbacks, his friends, Barbara, the family, his wife, moving away from him, their clashes, her death? His being by himself, the desperate search? The fact that he was a target for assassination? His final vindication? The complexity of his character, the experience, fathers discriminated against?

6.Barbara, her calm, age, experience? Her domination of her husband? Domination of her daughter? Watching over the child? The information about witchcraft, her friend, the books? Her antagonism towards David? Interrogations by the police? Working behind the scenes, the abduction, the contract for David, asking her son to arrange it? The gradual revelation of the truth, trying to recover the child? The witchcraft, the handing on of powers? Her dead daughter, her granddaughter being the potential witch? The credibility of this kind of woman being a witch?

7.The strong presentation of the police, Jack and Jenny, their work, thoroughness, investigations, interrogations? Suspicions? Their discussions with David, Barbara and her treatment? The eventual arrest?

8.The assassin, the son and his dislike of David, obeying his mother? The arrangement – and the irony that he was an undercover policeman?

9.The portrait of the town, the friends of the Thomas family, the shopkeepers? Perfectly ordinary? A setting for this kind of witchcraft story, abduction?

TRAPPED

US, 2002, 106 minutes, Colour.
Charlize Theron, Courtney Love, Stuart Townsend, Kevin Bacon, Pruitt Taylor Vince, Dakota Fanning.
Directed by Luis Mandoki.

Trapped is based on the novel, Twenty- Four Hours, by Gregory Iles who collaborated on the screenplay. Decision is by Luis Mandoki, Mexican director who is best known for his films in the US. They are rather different from this one, generally emotional dramas, comedy and serious, White Palace, When a Man Loves a Woman, Born Yesterday, Message in a Bottle.

This is an abduction thriller. Kevin Bacon, once again, is a convincingly sneering villain. He is seen with an abduction plan in the opening of the film and the main action of the film is the carrying out of the plan to kidnap Dakota Fanning (who was to be kidnapped in Man on Fire and rescued by Denzel Washington). The parents are Charlize Theron and Stuart Townsend. Courtney Love is his accomplice, as is Pruitt Taylor Vince as his cousin.

The advertisement says: “It was the perfect plan until she refused to be the perfect victim.” This means that the rigour of the plan, tested four times before this particular action, depended on Bacon and his rules. However, he overlooked the fact that the little girl was an asthmatic, underestimated the fire in Charlize Theron and Stuart Townsend.

Most of the film is a tense drama about the abduction, about the sexual pressure that Bacon puts on Theron, of Courtney Love menacing Stuart Townsend. However, the final ten minutes go beyond credibility. To save the little girl from possible death, Townsend lands a light plane on a freeway with consequent crashes and mayhem.

Apart from this, the film works quite well as a tense drama and thriller.

1.The impact of the abduction theme? The threats to families? The thriller aspects, dramatic interrelationships?

2.The settings, Oregon, the cities, wealthy homes, the roads, the hospital? Aerial shots? The score?

3.The title, with reference to Karen and William, with reference to Abigail, with reference to the kidnappers? The climax and the couple turning the tables on the kidnappers?

4.The plausibility of the plot, the scheme for kidnapping, the strict rules, the four successes? The visualising of the first kidnapping during the credits, the black and white style, hand-held camera to give a sense of emergency? Preparation for the abduction of the Jennings child?

5.The portrait of Joe, the revelation about the background of his daughter’s death, his blaming the hospital, the doctors? The decision to kidnap children? His reliance on Marvin, his cousin, Marvin and his devotion to the little girl? Cheryl, her believing Joe, the information from the hospital? Her participation in the plans? Their characters, madness, sense of menace? Cheryl and her violence? Marvin prepared to be violent but with a soft heart? Joe and his relentlessness, sexual menace towards Karen?

6.Karen and William, their home, William as a successful doctor, their wealth, his art collection? His pharmaceutical experimentations, his speech? His flying to the convention?

7.Her strength, her love for her daughter? The immediate reaction to the abduction? To Joe in the house? Violence, tension, the gun? Joe and his persuading her that she had to follow his rules, the regular phone calls, the reassurance to Marvin and Cheryl?

8.Abigail, her age, precocious? Her asthma, breathing? The crisis? The phone calls – Joe allowing Cheryl to go, blindfolded? The medicines and the remedy?

9.Marvin, his looking after Abby, the phone calls, television, the doll, his doing the carving for her? Playing the games, preparing the meals? Her running away, his catching her? The late phone call and his thinking he had to kill her? Driving her to the rendezvous, letting her go? His finally standing on the road?

10.William, the speech, Cheryl approaching him in the corridor, his rejection? Her going into the room, the threats? The gun, the phone calls? His desperation, hitting her (and Joe letting him hear his hitting Karen in the car)? The pressure on Cheryl, his medication, injecting her, paralysis? Her change of heart? Giving him the information? His wanting to trace the phone calls?

11.Karen, at home, desperate, the sexual advances, her reaction, getting the knife, threatening Joe? The phone calls? Going to rescue Abby?

12.William and the plane, turning off the engine, with Cheryl? Getting the advantage over Joe? Joe and his not wanting to kill Abby, wanting to take her and adopt her? Desperation on the road, with the money, with Cheryl?

13.The landing of the plane, the crashes and mayhem on the road, the burning car? The injuries? The final confrontations, Karen shooting Joe? Cheryl and Marvin surviving? The family being reunited?

14.The neighbour, her coming to the house, Karen’s explanation of the affair, her believing it and watching it?

15.A credible family, credible situation – and the role of abductions and ransoms in contemporary crime?

BLACKWATER TRAIL

Australia, 1996, 97 minutes, Colour.
Judd Nelson, Dee Smart, Mark Lee, Peter Phelps, Rowena Wallace, Brett Climo.
Directed by Ian Barry.

Blackwater Trail is a murder mystery set in Queensland. It is quite routine – but enjoyable in its way. The film focuses on a serial killer who uses Scripture quotations to justify his murders. He also uses Scripture quotations to form a trail which he invites detectives to follow so that he can trap them.

Judd Nelson portrays a writer who comes back from Los Angeles for the funeral of his close friend who allegedly committed suicide. However, his sister (Dee Smart) thinks he was murdered. In the town, as potential suspects, are the local priest, Father Michael (Brett Climo), the local bullying constable (Mark Lee) and the heroine’s meek and mild hospital surgeon (Peter Phelps).

The film uses its locations well, sets up the tension for the murder mystery and its solution. For the sake of the future happiness of the central couple, audience might guess who the murderer is.

1.Entertaining murder mystery? Telemovie?

2.Australian settings, Queensland, the small town, the city, the mountains and countryside? The old buildings, the reservoir, the factories? Authentic feel? Musical score?

3.The title, the focus on the clues given by the murderer, the Scripture quotations, the various places that it led to, reservoir, old plants, the church?

4.The plausibility of the plot, the serial killer, his psychology and character, the ability to do the murders?

5.The focus on Matt, his arriving back from America, arriving at the funeral, memories of the past? With Cathy, his leaving her to write his book? With Andy, and the memories of friendship but growing apart? The clashes with Chris? Friendship with Sandra? Meeting again with Beth? The funeral, the aftermath?

6.Cathy, her love for her brother, devotion to her mother? Her saying that her brother was murdered? Her committing herself to Frank, the tension between them, his bossing her about? Her pursuing the case, investigating the clues, getting Matt’s help? Going to the different locations, following the Scripture texts, by the river, finding dismembered pieces of the victims? Going to the church? The pursuit by Chris and Davies? Her lies to her husband? Matt and his being in prison, her doing a deal about the evidence against the alleged murderer? Chris letting Matt go? The finale, getting the information, discovering her husband was the killer? The confrontation in the plant? His death? Her going to America with Matt?

7.Frank, bespectacled and quiet? Doctor? With his wife, his putting the pressure on her, the dinner at the country club, the tense conversations, her lying to him? The revelation that he was the killer, the final confrontation, his death?

8.Chris, bully, imprisoning the rapist as a murderer, the discovery that he planted the evidence? Davies as his assistant? The pressure on Cathy? The tension with his wife, the fact that the child may not have been his? His pursuit of Matt, the final confrontation, his being shot? Davies, eager with the trigger, assisting Chris?

9.Father Michael, the funeral, the talking with Matt and Cathy, at the hospital? A possible suspect?

10.The garage assistant, his antagonism towards Matt? Pursuing him? Trapping him – and Matt escaping in the car?

11.The heroics, the action sequences? The blend of action with the murder mystery and investigation?

THE PILOT’S WIFE

US, 2002, 90 minutes, Colour.
Christine Lahti, Campbell Scott, John Heard.
Directed by Robert Markowitz.

The Pilot’s Wife is an above-average telemovie. It focuses on a pilot’s wife who receives news of her husband’s death in a plane accident. She has a very happy marriage, grieves for her husband, tries to deal with her daughter who is at a difficult adolescent age.

However, the secrets under the surface reveal a different story, a brittle marriage, an unfaithful husband, his second marriage and family in England, his involvement with a smuggling group of pilots, connections with the IRA.

Christine Lahti is excellent, as always, as the fifty-year-old widow who has to deal with the truth about her life and is bewildered by it at first but eventually seeks to find out the truth and confront the other woman. She is also shocked at the terrorist connections. Campbell Scott plays an investigator and John Heard is seen in flashbacks as the husband.

The film may have seemed somewhat implausible at the time of its writing. However, it was released in 2002, after the plane crashes into the Twin Towers in New York City. This makes the film more plausible and frightening. The theme of a second marriage was handled in an Irish telemovie in a similar kind of way, Relative Strangers with Brenda Fricker (1999).

1.The impact of the film? The title and the focus on the wife? Her response to her husband’s death, the gradual revelation of the truth, her dealing with it emotionally and in action?

2.The range of settings: the opening in Massachusetts, the family home? The transition to London, the London streets, parks? The transition to Ireland, the countryside, the pub, the site of the crash? The background musical score?

3.The plausibility of the plot, the second marriage and the pilot with his two families? The initial impact, shock? The flashbacks and the building up to a realisation of the truth? The IRA and terrorist connections? The Loyalists planting a bomb on a plane? In the aftermath of September 11, 2001?

4.The opening, time, Kathryn, in bed, Robert at the door, the news? The phone calls? Her taking in the reality? Talking with her daughter, her daughter revealing things about her own life, especially about sexual experimentation? Her trying to deal with all of this? The media?

5.The flashbacks, Kathryn’s memories, favourable towards Jack, yet the gradual build-up of the picture of Jack, his alienation from her, his love for his daughter, the clash about the computer and his being on-line? The flashback to memories of the holiday home? The farewell, the bag? The courtship, the happy years of marriage, her explaining that she had a happy marriage, her final realisation that it was a fraud?

6.Jack, pilot, not telling Kathryn about his mother being alive, his deceit about the relationship with Murie, the family? His ability to live the double life? His clashes with his wife? Love for his daughter? The smuggling, the bomb, the explosion in the plane?

7.Robert, investigating for the union, his delicate touch with Kathryn? His being about, supportive, gradually revealing the truth? Following her to England? Explaining that she was being followed? The fact that he had known and had suspicions all along? Her disappointment in him?

8.The FBI, the airline officials, their coming to the home, interrogating Katherine? Their blunt methods? The return and taking the documents from the house?

9.Maddie, her age, her father’s love for her, her response to her father’s death, the memory of her not going to the game with him? Her mother’s reassurance? Her telling her mother about her sexual experiences? Going to stay with her friend? The final reconciliation and talking about knowing the truth about Jack or not?

10.Murie, the phone call, the information, Irish, her being a courier for the IRA, in love with Jack, marrying, the two children? The first confrontation with Kathryn and Kathryn’s shock? The second meeting after following the man in the park? A glimpse of the truth?

11.Her going to Ireland, the journalists in the pub, going to the site of the crash, throwing her ring into the water, “Goodbye Jack”?

12.A sensitive portrait of a woman in a very difficult situation and her having to cope and having to grieve as well as discover the shock of the truth?

TE DOIMIS OJOS (TAKE MY EYES)

Spain, 2003, 109 minutes, Colour.
Laia Marull, Luis Tosar, Candela Pena, Rosa Maria Sarda.
Directed by Iciar Bollain.

Take My Eyes is a phrase used by the wife in this film in giving herself completely to her husband, offering him everything, including her eyes.

However, the film is about domestic abuse. It begins with a mother fleeing the house in the middle of the night with her young son. She takes refuge with others – and has to withstand the attempts of her rather brutish husband who wants her back. The film also emphasises the relationship of the woman with her friends, their attitude towards marriage and break-up, towards domestic violence and the role of males.

The performances of the leading actors are very powerful. The film was co-written and directed by actress Iciar Bollain. After working as an actress for many years, from her teenage years, she moved into writing and directing. A mother of two children herself, the film offers insights into marriage, marital relationships, violence and brutality, sexuality – and the consequences for each of those involved, especially the child.

The film won many awards, including best film in the Spanish film awards. It also won a prize from the World Catholic Association for Communications, SIGNIS.

1.The impact of the film? For women? Men? Its many Spanish awards? Its speaking to a Spanish audience? Universal audience?

2.Universal problems, wife-bashing, domestic abuse? Men and their stances, women as victims? Men as victims? Spanish macho attitudes, expectations? Violence taken for granted? The possibilities for counselling, psychologists? Recovery of marriage? Impact on family, children? The particularly Spanish tone of the film?

3.The Toledo settings, its historic and artistic past, the present? Art and traditions? Modern life and style? The modern settings, buildings?

4.The use of artistic myths, Greek myths, Orpheus, Danae and Jupiter? The Madonnas? The churches? The paintings of El Greco? The visual presentation of the art, the contemporary narrative paralleling the myths? Museums, tours and explanations?

5.The title, the original idea of a woman surrendering everything to her brutal husband? Pilar and her saying it during the sexual encounter? The ideal, actual?

6.Audiences identifying with Pilar, with Antonio, with Ana, with Aurora, with Juan?

7.The opening, its desperation, Pilar taking the sleepy boy, still wearing her slippers, the bus? Waking up Ana, staying, her being upset? Juan and the sudden change? What to say or what not to say? Settling down, going for the job interviews, getting the job, at the ticket box, in the cathedral, the sense of holiness and majesty, awe? With her friends, lunches, chatter, a new life?

8.The portrait of Ana, information about her wedding, Aurora and her coming to stay, the discussions, the wedding dress, the details of the wedding? Ana and her willingness to mind Juan? Her change, the wedding itself, Pilar throwing the wedding dress over the roof? Pilar’s outburst against her sister, her resentments? Grief, Ana’s reaction, the need to be reconciled? Her mother, her point of view about her own marriage, her daughter’s? The brutality of their father? The cemetery visits, the mother’s story about her wanting to visit her brother and her husband forbidding it? The plain talk about her mother’s self-centredness, wanting to be a martyr? The impact for Pilar’s decision? The title of the film and its illustrated by these three marriages?

9.Pilar in herself, her background, the nine years’ marriage? Her changing, going to lunch, sense of freedom? The bonding with her son? With Ana and Ana’s not understanding? Her fear, anger? Her fear of Antonio, the physical repercussions, his leaving the gifts, going back to him, the sexual encounter and its explicitness? And yet his continued anger? The plan for the job with the other women, the wedding and her clash with Ana, going home with Antonio and Juan? Wanting to do the course, Antonio’s reaction? Getting the job, his criticism that she never had her mobile phone on? At home, cooking, helping Juan with his homework? The success with the tours and the explanations of the paintings?

10.Antonio, his reaction to Pilar’s leaving, Ana coming for the clothes, her discovering the hospital records of Pilar’s injuries? Seeing Antonio at work, the refrigerators, the practical world? His visits, stalking Pilar, playing ball with his son, telling his son not to tell lies, looking into his eyes? His coming to visit, Pilar avoiding him? His leaving the flower, the gifts? Her wearing the earrings? The wedding, her going with him, the sex scene, his attitudes and angers? His continued suspicions, the mobile phones? Going for the weekend to help his brother building, his brother’s reaction, his anger about the money, kicking the car? Frightening Pilar and Juan?

11.The therapy sequences, the leader and his abilities, the range of men at the session, the examples of their brutality, macho attitudes taken for granted? The role-plays? Their talk, Antonio being inarticulate, his going to visit the therapist privately, the therapist’s technique in putting Antonio in touch with his feelings, self-image? His writing in the diary, its red pages? His going to the tour and listening to Pilar’s explanations? His interpretation, thinking she wanted to be exposed to people, his physically exposing her on the balcony and humiliating her? His continued apologies? His inability to control himself? Pilar unable to take anything any more – coming with her friends to collect her clothes and possessions?

12.Juan, his age, being taken in the night, having to settle with his aunt, his mother and the homework, his father’s visits, his father intimidating him? The return home? A future?

13.The portrait of the women, their help to Pilar, the lunch conversations, the wedding, the job, the interviews, their skills?

14.A serious look at contemporary problems of domestic abuse?

TAXI

US, 2004, 98 minutes, Colour.
Queen Latifah, Jimmy Fallon, Henry Simmons, Jennifer Esposito, Gisele Bundchen, Ann- Margret.
Directed by Tim Storey.

Taxi is a remake of the successful French film written by Luc Besson. The French film had two sequels. It is difficult to know whether the Americans would make a sequel to this film because it was not a commercial or critical success.

The film relies on the comic style of Queen Latifah, so good in Chicago and in comedies like Beauty Shop and Bringing Down the House. The taxi driver star is Jimmy Fallon from Saturday Night Live who does not make a striking impression as the lead in this film. However, he was to exert more charm and presence in Perfect Catch (Fever Pitch) with Drew Barrymore.

The film is an excuse for madcap comedy, car chases, robbers – especially in the form of beauty contestants, especially Gisele Bundchen. There are many confrontations – action and comic.

A surprise cameo role is that of Ann- Margret as the hero’s mother.

1.The popularity of the original French films and its sequel? The transposition to New York City?

2.The New York City scenes, the streets, highways? The banks? Police precincts? New Jersey – and the incomplete bridge? Authentic atmosphere for this kind of action comedy? The musical score and the range of songs, especially the rap songs for mood?

3.The title, the importance of the taxi for Belle, her driving in the taxi, her passengers? The taxi and the police? The impounding of the taxi, getting the taxi back again – and her future with the taxi?

4.The plausibility of the plot, Andy and his ineptness? Belle and her background, taxi? The relationship with Jesse? The relationship between Andy and Marta? Andy’s mother? The comic caricatures?

5.The action sequences, the opening with the breaking of the record by the cyclist, Belle being the cyclist? Cycling messengers in New York City? Taxis, speed? The revved-up taxi for Belle? The nervous passenger to the airport, the police pursuits? The special effects and stunts?

6.Belle, her background, juvenile detention, her learning mechanics from her family? As a cyclist? Her getting her licence, the taxi, the nervous passenger? Being taken over by Andy? The chase of the robbers, her identifying them? Her working out where they would go for repairs? Her skills, keeping vigil with Andy? Her standing up Jesse, his being exasperated? Her going to Andy’s place, Andy’s eccentric mother? The interrogations by Marta? The continued pursuit, working out of where the crimes would take place, the final confrontations? The reconciliation with Jesse and his understanding? Her future as a racing car driver?

7.The contrast with Andy, inept, living near his mother, his mother continually being drunk, her spoiling him? His continued mistakes, the impersonation of the Cubans, spoiling the drug deal, the shootings? His being taken off jobs, his getting the information about the robbery, taking the taxi? His interactions with Belle, telling his life story? With Marta, her continually telling him off, dismissing him? The newspapers – and the fellow police mocking him? His relying on his mother? His determination to succeed, with Belle, using his wits, the final pursuit? Trapping the robbers?

8.Marta, her work, exasperation? Interaction with Belle? Anger with Andy? Her giving herself as the hostage – and the attention given by the robbers? The rescue in mid-drive? Undercover with Andy at the end? Jesse, his courtship of Belle, the appointments, the meals, his disappointment, exasperation? Jesse and everything being explained by Andy’s mother?

9.Ann- Margret as the mother, her comic style, drinking, meals, ordering out, hospitality, support of her son?

10.The police, efficiency, the bungling police?

11.The robbers, people thinking they were men, their arrival at the airport, the glamorous models, lesbian – and the sexy overtones for the sequences for the male audience? At the garage, the exploding car, their escape, driving and pursuit? Their finally being stranded? Their hostages, the garbage man having to help them because of his wife? Andy and Belle working out the garbage route, finding the man, rescuing his wife?

12.A variation on the buddy movie, the feminist tone (in reversal from the male-female roles of the original)?

THE CONTENDER

US, 2000, 126 minutes, Colour.
Joan Allen, Gary Oldman, Jeff Bridges, Christian Slater, Sam Elliott, William Petersen, Saul Rubinek, Philip Baker Hall, Mike Binder, Robin Thomas, Mariel Hemingway, Kathryn Morris.
Directed by Rod Lurie.

One of the famous quotations from classic films is "I could have been a contender". It comes from On the Waterfront, spoken by Marlon Brando as Terry Molloy. He is talking about boxing. The contenders in The Contender are politicians, tougher and sometimes more vicious fighters than any in the sporting ring. And, while they may not lay a hand on an opponent, they are going for the complete knockout.

We have recently seen the confusion and squabbles of the American election and its uncertain aftermath. We have seen the Clinton years with their mixture of achievement and constant threat to the unpredictable president. American politics holds a continual fascination for the rest of the world. Here is a two-hour glimpse that is both intriguing and scandalising. It is full of dirty tricks, muck-raking, with rough tactics and rough language. Yet, it is generally a powerful insight into America and its democracy in action.

Joan Allen is not a prominent Hollywood star but has received Oscar nominations in recent years for her roles as Elizabeth Proctor in The Crucible and Pat Nixon in Nixon. She is a versatile and talented actor and received another Oscar nomination for this performance. Here she plays Senator Laine Hanson, daughter of a former state governor, who has moved from the Republican party to the Democrats. When the Vice-President? dies in office, the president (Jeff Bridges in a performance that could reveal some of the toughness under the smooth Clinton-like surface) must appoint a substitute who is to be examined and approved by a confirmation committee. He nominates Laine Hanson.

She seems an ideal choice. However, a skilled Republican (Gary Oldman is very persuasive) who resents having once lost to the President and finds the senator's liberal stances (especially on pro-choice) and her being a woman in power quite abhorrent. He discovers a sex scandal in her past and exploits it on the internet as well as in the press. What happens - and here is one of the film's main messages - is that she insists that her private life is her own and has no bearing on her political position. She refuses to answer the questions. She states that in acknowledging that people could ask them, she would be opening floodgates of invasion of privacy. With the experience of the Lewinsky scandal, this issue needs serious consideration.

There is much more in the plot than Senator Hanson's interrogation. Another candidate for Vice President (William Peterson) has become a national hero in trying to rescue a girl who went off a bridge into a river. A young House of Representatives Democrat (Christian Slater) joins in the attack on Senator Hanson. The White House advisers take an active part in investigating backgrounds of candidates and enemies. The FBI is also investigating.

At times, the film goes in for patriotic American rhetoric, especially in the Senator's speech on her values (they are those of the contemporary liberal who relies on personal integrity rather than on any religious tradition) and in the President's final address to the Congress. Nevertheless, this well acted-film, despite the rhetoric, is an absorbing look at the contemporary United States.

1.A film about American politics? The state of the US, 2000? American politics before President Bush, before September 11, 2001?

2.The Washington settings, the White House, the Capitol? Virginia, homes? The surrounding countryside? The bridge and the river? The musical score?

3.The title, the adversarial tone? Laine Hanson’s principles?

4.The points of view of the Democrats, policies, principles? Left of centre? Laine Hanson’s stances, liberal, atheist, individualist, life choices, pro-choice, the separation of church and state? Her speech to the Senate hearing declaring those principles? The response of a more conservative Republican audience? Impact on overseas audiences – the American patriotism at the end?

5.The accusation against Laine Hanson, the rumours, the senator leaking them, the photos, the articles, the scandals and sexuality? The American people’s response to these revelations? Their more Calvinistic and puritanical response? Her consideration that they were beneath her dignity? Her giving the example of the House of Un-American? Activities and the man commenting on issues and opening up accusations for others? The irony of the truth and of what she really did? Her being a woman of principle? Her comments on the right to privacy, and no right to media or Senate inquiry intrusion?

6.The prologue and Jack Hathaway, fishing, his assistant, the crash, diving into the water? The television interviews, the possibility of becoming vice-president? His audience with Jackson Evans? His being told he was not a candidate? His wife’s reaction, her pushiness? Her meeting with Shelley Runyon? The double-talk? The FBI interviewer, her questions? Probing, the truth? The president setting him up, his fall? His being charged, the repercussions?

7.The introduction to Laine, the sexual encounter with her husband, the revelation of the past affair with him, the hurt to her good friend? Her apology? Her comments about love and it being irrational? Being called to the White House, she and her husband meeting the president? Her manner, presence, competence, ability to become vice-president? The discussion with the president, with his assistants, with Kermit? Jerry being present? The situation, the strategic plan? The humorous comment about the president getting any food that he liked and trying to trap the cook?

8.The portrait of the president, in himself, shrewd, his tribute to his dead vice-president, tough with Hathaway but feeling the strain? His choice of Laine, his sense of history, his legacy? His strategies, the discussions with Kermit, Jerry? The discussions with Shelley – and the back-story of their rivalry and Shelley getting revenge? Receiving more information about Laine? The meeting with Webster, the shark sandwich? Inviting him and his wife later to the top table? His comment about Webster and seeing himself when young? The affidavits, his going to the Congress, his stirring speech and his talk about shame, especially for Runyon? That being his legacy? His talking to Laine about the truth, her refusal to go public? His final speech, his refusal to accept her resignation? Politics and integrity?

9.Kermit, tough, advice, his dealings with the president, with the other members of the staff, with Hathaway? His visit with Jerry to Runyon, Jerry giving the false plant about Hathaway being a possibility while another senator was the second choice? With Laine, his anger at her behaviour, at her tactics? His being calmed? Getting the information from the FBI agent, praising her, telling her comments about Laine were inappropriate? Jerry as the assistant, shrewd, tactics behind the scenes?

10.Laine’s minder, Lewis, the clandestine meeting, getting the fire with the information about Laine, questioning the motives of the informant, his being at her side during the hearings?

11.Shelley, politics, the past, his style, his presumptions, exercise of power? The dinner with the president and clash with him, memories of the past? Vengeance? Laine, her going late, eating the steaks, her vegetarian choice, their dislike of each other? The importance of the scenes with his wife, her wanting children? The wife’s visit to Laine, telling her about the abortion, Runyon not knowing – and Laine deliberately deciding to use this inside information? Webster, his pursuit of Shelley, Shelley using him? The files, the information, the web leaks? The hearings, points of order, interrogating Laine about her oath and belief in God, abortion issues, painting her as a villain, anti-life? The personal questions, the issue of her taking maternity leave were she to be president? His victory? The trap about Hathaway, his being set up by the president, the press conference and his endorsement of Hathaway, no matter what? The showdown in the president’s office and his discovery of the truth? His presence in the Senate, his walking out during the president’s speech, the president saying “Shame”?

12.Webster, young, ambitions, dislike of Laine Hanson, with Runyon? His talking to the president, the sandwich, getting advice? The discussions with Laine in her office? The hearings, his getting the affidavits about Laine’s innocence? At the banquet, with the president? His looking at the portraits of the presidents in the hall – and the president’s comment? His ultimately doing the right thing?

13.The insights into politics, deals and hearings?

14.Laine Hanson as a person, the president saying she was only human – and the echoes of the Clinton era and behaviour? The theme of not guilty but responsible? Dignity, principles, the end?

15.The portrait of American politics in view of the Clinton era, the early 21st century and the Bush administration?

THE FAN

US, 1996, 116 minutes, Colour.
Robert de Niro, Wesley Snipes, Ellen Barkin, John Leguizamo, Benicio del Toro, Patti D' Arbanville, Chris Mulkey, Kurt Fuller.
Directed by Tony Scott.

Directed by Tony Scott, best known for action shows like Top Gun, Crimson Tide. This is one of his best films and the pace, especially the first part, carries the audience headlong. We are introduced to a salesman on the skids, divorced and about to lose his job (De Niro), and a top baseball star (Snipes). It is not hard to guess what is going to happen when we see the salesman as the intense fan.

De Niro has done this kind of thing before, manically in The King of Comedy when he pursued TV host, Jerry Lewis, and diabolically in Cape Fear both for Martin Scorsese. He plays in lower key here but is no less frightening, especially as his situation is not too far-fetched and his fanaticism and ultimate violence are a victim of society breaking out in madness. (Audiences may remember a similar Michael Douglas in Falling Down, a useful companion film to The Fan.)

Topical psychological thriller.

1.The films of Tony Scott, action, pace, violence? British director? Dramatising Americana?

2.The baseball setting, San Francisco, homes, workplaces, authentic atmosphere, the score?

3.American love for baseball, the national sport, spirit, fans, fanatics? Adults and children? Little League? Coaches, parents? The effect of baseball in the consciousness of Americans?

4.For overseas audiences, for sports fans?

5.Robert de Niro’s portrait of Gil? His screen presence, age, father, with his son, the company, his work, sales, failure? His encounter with the bosses, his father founding the firm, his anger with them? Their ousting him? His anger in the clashes? His relationship with Ellen, the break-up of the marriage, her antipathy towards him? Her being with Tim? His relationship with his son, taking him to the match, leaving him alone, his desperate attempt to regain his job, late, coming back to the match, his son gone? Going home, intruding in the house, the pizza, placating his son? Ellen and her upset? Wanting the police? His being the subject of a restraining order? His phone calls while driving, the discussions with Bobby, with Jewel, her co-host? The meaning of his life, sport and his memory of his own abilities as a child, injuries, failure? Obsession, the pursuit of Bobby?

6.Gil as a fanatic, his wife afraid, his son afraid? His going to the practice, abusing the coach, disobeying the restraining order? Bobby and his injuries, Gil continuing to support him, being anti-Johnny? His obsession with Johnny, his number, his killing him, taking the skin with the number? His stalking Bobby, saving the boy in the ocean, wearing the clothes, the jersey? The pool game, the discussion with Bobby, Bobby saying he didn't care any more? Abducting his son, talking to him in the car, taking him to Coop, his admiration for Coop? Pitching the ball at Bobby, pitching it at the boy? Coop trying to save the boy, his killing Coop? The radio threat, menacing Bobby, appearing as the catcher, the showdown, the violent confrontation, his being shot by the police?

7.Wesley Snipes as Bobby, in himself, champion, transferring teams, the forty million dollars? His working with his agent? The interview with Jewel and her belittling him? The discussion with Gil? The game, the collision, his injury, the agent forcing him to go back, his poor season, the crowds turning against him? Johnny as the up-and-coming player, relationship with Bobby? The encounter in the dressing room with Gil, his being killed? Bobby and his improvement, playing with his boy, Gil saving him? His explanation that he didn't care any more? Gil’s taking this badly, the crisis, his having to bat and be successful, his striking out? The intermittent rain, the suspense? The confrontation with Gil on the pitch?

8.Jewel, the radio commentator, her taunting people, her regressiveness, her co-host, his clashing with her? Her participating at the end in trying to save the boy and Bobby?

9.The portrait of the agent, his work, his influence on his client, participation in the final climax?

10.The police, their working out who Gil was, going to the hiding place, finding the boy?

11.The apocalyptic ending, the violence? Going to the photos of Gil when he was young, full of promise, failure, the consequences?

12.Cinema action, a fable about success and fanaticism via drama and sensation?

HOLY WATER

Ireland, 2009, 93 minutes, Colour.
John Lynch, Cornelius Clarke, Lochlann O’ Mearain, Cian Barry, Linda Hamilton, Tommy ‘Tiny’ Lister, Angeline Ball, Susan Lynch.
Directed by Tom Reeve.

For a while there, I was hoping that this would be a tongue-in-cheek Irish yarn (from the north) that would be undemandingly amusing. Chatting afterwards, somebody remarked that it was like a low-brow Ealing studios comedy from the 1950s. Someone else said that it was 'Viagra Galore'.

Yes, despite the several disclaimers that the Pfizer company had nothing to do with the film (well, except for producing it, distributing it and marketing it), this is the viagra comedy.

Four backblock types (where the local musician throws himself over a cliff – others just want to get away to England) join in a plan, fool-proof, of course, to hijack a truck full of viagra and sell it in Amsterdam and Patrick's your uncle.

And, of course, these fools are by no means fool-proof.

The robbery is lightly amusing. Then, when the yanks arrive with all their equipment to track the track, they hide the bins of pills in the local well. And the film goes right down even as it goes up, so to speak. What might have been light amusing comedy about the effects of viagra on all and sundry, it lapses into carry on viagra farce which isn't all that funny when you come to think about it.

The village is meant to be Catholic but they did not film in a Catholic church and did not consult on vestments or how confession goes.

Better luck next time.

1.An Irish comedy? The Whisky Galore variation? The sex farce with the Viagra?

2.The Northern Ireland setting, the village, the countryside, the cliffs and the sea? The detail of the village, homes, farms, hotels, bars? The music and the Irish tone?

3.The title, the holy well, the well with the Viagra?

4.The Viagra comedy? The place of Viagra, the opportunity for jokes about sexuality?

5.The detail of the four men, Podger and his post round, collecting the mail at Belfast airport, in the village? Gaffer and his ownership of the hotel, morose? Donal and the farm, Sean and the mechanics?

6.The financial situation? Podger and his plan, seeing the Viagra truck? The humorous details of the planning of the robbery, the humorous details of the robbery itself – the detours, the drivers, the truck? Getting the Viagra? Having to conceal it from the Americans, putting it down the well?

7.The Catholic background of the village, the parish priest and his garrulousness, drinking, hearing confessions? The church, the women going to confession? The holy well?

8.The Americans, their coming in with their equipment, the need to track down the truck, the homing device? In the river, going out to sea, suspicions of the trawler? The team, the dominance of the leader, her hard attitude? Six Pack and his height, dominance, the attraction of the girls? Their assistant, her attraction to Sean? The details of their work, the hotel as their headquarters?

9.The men, their fears, hiding the Viagra? Carrying on with their work?

10.The effect of the Viagra, on all and sundry? The television interviewer, the gay subtext, Gaffer and the massage? The American and her attraction? The policeman and his assistant? The cranky old women? The line-up for confession?

11.Trying to get the homing device, going down into the water? It being concealed? The two old men finding it? The confrontation between the four men and the elders? The people assembled in the pub? The effect of the Viagra – and the news report that the village had become a centre for tourists, especially Americans, because of the powers of the water?

12.Lowbrow comedy, heist comedy, sex farce? How well combined?

DOGGING: A LOVE STORY

UK, 2009, 93 minutes, Colour.
Luke Treadaway, Richard Riddell.
Directed by Simon Ellis.

Dogging: A Love Story is not a film that one could recommend. It looks like a pseudo-documentary, a young out-of-work journalist investigating sex in cars and voyeurs as a means of getting an article and an entrée into work.

The film is prurient in its comments on dogging and sexual behaviour as well as prurient and voyeuristic in presenting some sequences. The central character, played by twin Luke Treadaway (brother of Harry) is rather nondescript, lurking in chat rooms, setting up meetings, listening to his friend Rob (Richard Riddell) who is permissive in attitude, behaviour and lacking in all scruple.

There are two girls involved, one the central character’s friend in the chat room who turns out to be his girlfriend. The other is a young woman who is a voyeur.

The film is based on some articles about this kind of British sexual behaviour but offers very little by way of drama, comedy, romance or even any worthwhile social comment.